Reviews by moviebuff15

Death, power, deception. They're all the subjects of Stephen Frears' "The Hit," and they all have their time in the spotlight. From the opening scene, "The Hit" seems to have all the workings of a great movie. So why is it merely a good one?

Surely not the actors, who have talent written all over them- Terrance Stamp, John Hurt, Tim Roth in his pre-"Reservoir Dogs" days. Surely not the setting of steamy Spain, which has the feel and intensity of a wild, dangerous place.

Maybe the problem lies in the lack of immediacy in the story. Nothing happens in much of a hurry, and the pace has the feel of a window shopper- just there to browse, for as long as it takes. Even the Salsa-flavored score of the film doesn't scream danger.

Willie Parker (Terrance Stamp) is a former gangster who has settled down in a Spanish village after serving as an informant to the coppers. His relaxed life screeches to a halt when two hit-men, vicious Mitch (John Hurt) and wet-behind-the-ears trainee Myron (Tim Roth) take him captive, with the intent of driving over to France and then, you know, wasting his ass.

The characters are well-realized from the start- Willie is calm and uncannily reasonable, while Myron is hyperactive and impulsive. On the other hand, Mitch is a stone-cold, efficient killer, seasoned by many years of watching men die.

On their odd road trip comes a fourth party, Maggie, (Laura de Sol,) an unwilling participant in the mayhem with a few secrets of her own. The movie is more interested in the psychology and power tactics of these people then getting anywhere. It's unusual, but if you can ease into it it's moderately enjoyable.

Control... control asserted against other people, imagined control against inevitable death... is a big theme in this movie. In one scene, Maggie bites Mitch, who, despite his obvious pain, refuses to withdraw his hand from her mouth. Why? He's afraid to show weakness; to him, admitting to pain is a sign of weakness. But even Mitch cannot stand strong in the face of death.

"The Hit" is an interesting movie, but I just wasn't all that into it. It's a different kind of hitman film, one that abstains from focusing on violence and action. It might be delightful for a certain taste. It's definitely worth watching once, if only to see how a gangster-road trip combo would be devised. Not great, but intriguing.

"Temple Grandin" is a really interesting movie about a fascinating woman that allows us an inside look at an unknown world. This is a must-see for people struggling to understand loved ones with autism or for AS people themselves, because close family members will understand autism better and people on the spectrum might see themselves in the intrepid but troubled Temple.

"Temple Grandin" is the real-life story of the eponymous character, who struggles with severe autism from an early age, then goes on to become a pioneer in the cattle industry. Temple suffers from an autistic condition which deprive her of a ordinary childhood, but give her an astonishing and intuitive mind and a unique way of looking at things.

As a young woman, Temple (Claire Danes) stays at her aunt's farm, where she becomes familiar with the cattle who live there. When she witnesses a cow being calmed by a squeezing machine, Temple is inspired- when she leaves the farm and goes to college, she builds her own 'hugging machine' to dilute the tension that most people relieve by giving and receiving hugs.

However, Temple's new classmates and teachers don't understand the relief Temple gets from her machine (instead thinking it's something perversely sexual,) and she must fight for her right to express herself, a fight that continues throughout her life.

The film, which premiered on HBO, is based on Temple Grandin's non-fiction books 'Emergence' and 'Thinking in Pictures.' As you may have heard before, Claire Danes nails it as Temple. I watched Mrs. Grandin in interview on the special features of the DVD the first time I watched this, and... wow. Mrs. Danes really emulates Temple's speech and mannerisms.

I just hope the actress nails my speech in the upcoming biopic of my life (ha, ha.) The rest of the cast is good too. The film features some well known actors such as Julia Ormond as Temple's courageous mother, Catherine O'Hara as her Aunt, and David Strathairn as her teacher, who passes on important lessons to her.

I like the way the film visualizes the intricate workings of Temple's mind so that I can understand them better. "Temple Grandin" is frank in the way that it deals with the bullies Temple must deal with on the road to success. Just think about it this way... are these people heard of except as bullies in an HBO TV film? They're not even a name. The way I see it, Temple got the last laugh in the end.

This film is definitely worth watching, and will keep you intrigued throughout it's running time. It definitely makes you think in terms of the people who you slight because you assume they are mentally retarded and have nothing to offer you, but are they?

Everyone assumed Temple was either crazy or stupid. Even her childhood doctor blatantly stated that she should be institutionalized and kept from tormenting the masses. And she turned out to be one of the great minds of her time. Any ways, you just never know. Have a great day, and don't forget to comment *wink*!

Ralph Bakshi's innovative post-apocalyptic vision of ruin and technological warfare is not for the kiddies, despite the PG rating. Instead, it offers creative hand drawn animation and food for thought for adults and teenagers who might find it's content a springboard for discussion.

Thousands of years after nuclear war, most of mankind has transformed into disgusting dribbling mutants. Meanwhile, the ancestors of the earth have come to stay- fairies, dwarves, elves, and the like. One night, a fairy woman gives birth to twins; one, Avatar standing for all that is gentle and good, the other, Blackwolf, representing evil and corruption.

After growing up and defeating Blackwolf (voiced by Steve Gravers) once in battle, Avatar (voiced by Bob Holt) retreats to live a life of access with his female companion Elinore (voiced by Jesse Welles.) Meanwhile, the evil Blackwolf lingers underground and plans his revenge, using Nazi Germany and Hitler as his inspiration for a reign of terror.

I was somewhat divided on terms of the animation- some of it showed a spark of genius, while other bits seemed somewhat rough, like something you could find on late-night Adult Swim. The voice acting is a little weak from Bob Holt, but shows prowess from everyone else, who probably had a lot of fun with this project.

The links between this world's corruption and Nazi Germany are a little obvious, but the power of propaganda in this world serve as a powerful reminder. The filmmaker provides some curvacious fairies for you horny fanboys, while the male leads remain disappointingly clothed.

Overall, "Wizards" is an interesting but not extraordinary foray into the sci-fi genre, with definite fantasy elements. There are a few unexpectedly touching moments, and the violence is as frank and as rife with consequences as you are likely to see in a animated film.

Ralph Bakshi proves himself to be a filmmaker of merit. If you like cult films with more substance than the old "Rocky Horror Picture Show" retread, be sure to give this odd little film a rental.

First, ignore the critic on the front cover who dubs "Kisses" 'irresistibly heartwarming.' This is a dark, gritty drama that pulls no punches in it's depiction of incredibly resilient Irish youngsters living lives of squalor and abuse.

11-year-old Kylie and Dylan are underprivileged kids who fancy themselves a couple. Dylan is abused by his father, a volatile alcoholic, while Kylie is at the mercy of her unscrupulous Uncle Morris.

One Christmas, the kids run away (after Dylan has a unusually bad fight with his father) and head for Dublin, where they hope to stay with Dylan's runaway brother. On their journey, they make confessions, share secrets, and try to survive in a city that swallows up it's weakest and offers little hope to two children trying to get by.

"Kisses" starts out in black-and-white, then brightens into sumptuous color about halfway through as Dylan and Kylie spend time with Dublin eccentrics and survive several terrifying ordeals.

The children are the center of the movie, and they both give very good performances. I think Kelly O'Neill as Kylie really stood out with her touching performance, I see great things in this girl's future.

I was floored by how real this movie felt- with no pat resolutions for our troubled protagonists. I will admit that the part with Kylie and Dylan kissing made me very uncomfortable... frankly I don't think 12-year-old kids should be kissing like that in front of a camera, but I digress.

"Kisses" establishes itself as one of the best films centering around the younger generation, and the two leads' friendship and tentative romance existing among disgustingly dysfunctional adults will warm your heart.

Writer/directer Lance Daly proves himself to be a enormously talented filmmaker. "Kisses" is an astonishing debut, and I hope that it is not forgotten in the years that follow among superfluous remakes and summer blockbusters.

Alan Cumming is one of the most eccentric and talented character actors in the business, and "Any Day Now" allows him to stretch his acting muscles in a rare leading role.

Set in 1979 California, "Any Day Now" tells the story of Rudy Donatello , a gay nightclub performer who enlists the help of his rich lawyer boyfriend Paul(Garret Dillahunt) when his next-door neighbor, a mentally handicapped teenager, is abandoned in Rudy's dive of an apartment complex by his drug addled mother.

The kid, Marco, is taken in by the two men, who give him hope for a better life. "What do you eat for breakfast?" Rudy asks, to which Marcus answers, "Doughnuts." The kid's not joking. Mom, in her infinite wisdom, has been presenting her obese son with a daily serving of chocolate doughnuts, the cornerstone of any nutritious breakfast.

Rudy adds fun and flamboyance beside Garret Dillahunt's slightly boring Paul, but when it comes right down to it, what girls don't prefer the queens to their more serious counterpart? Newcomer Isaac Deyva doesn't let his real-life condition (Down's Syndrome) deter him from giving a surprisingly affecting performance.

As the film turns into a custody court battle to keep the kid, the script sometimes smells of a little same-old-same-old (naysaying judges, barely concealed prejudices, dramatic music,) but doesn't let itself go into "I Am Sam" territory (with Sean Penn's spasmodically uttered cry of "Why isn't Lucy coming home with me?" You can practically hear the Kleenexes being pulled out.)

Neither does it over-focus on the case and the lawyer's hubris like "Primal Fear." When it comes right down to it, Rudy and Paul are the only ones who see Marco for what he is- a person, not a burden. And if that doesn't move you just a little, well, maybe you have Grinch blood in you. Goodbye.

"Cronos" is a film that starts out promising, then kills itself dead much to the horror of the viewer. Director Guillermo Del Toro is one of today's most impressive filmmakers, but even he couldn't resuscitate this dud after a certain point.

Initially, we are given an interesting premise- pleasant, aging antiques dealer Jesus (Frederico Luppi, who would later go on to play in Del Toro's great "Pan's Labyrinth" and "The Devil's Backbone") comes upon a a strange discovery hidden within a statue of an angel in his shop.

This discovery, as it so happens, is a golden scarab- tucked away with the hopes, presumably, of never, ever, being found. Meanwhile, loutish thug Angel (Ron Perlman) is looking for the scarab, which in turn, is doing strange things to Jesus.

The scarab contains the secret to eternal life, wherein lies the big question- Would you like to live forever, regardless of the consequences? To watch history unfold, but to see your children, you grandchildren age and die before your very eyes?

Unfortunately, the film trades pathos for kitsch and camp. At times it displays the worst qualities of American cinema- stupidity, coarseness, and crisis of tone. Also, child actor Tamara Sharath plays the completely unbelievable character of Jesus' granddaughter, Aurora.

I mean, this girl is a trooper. She deals with mutilation, injury, a beloved family member coming back as one of the undead- with nary a sniffle, let alone a tear. Are we supposed to believe that little girls behave this way, even brave little girls?

What's more surprising to me than Guillermo Del Toro's name on the film is the fact that it was released on Criterion Collection, distinguished as 'important contemporary and classic' films from around the world. This is not even a particularly good film, let alone a important or classic ones, so crowning it as such boggles the recesses of my mind.

Please, don't let this review stop you from seeing Del Toro's later films. I am in the minority in that I actually like his spooky ghost story, "The Devil's Backbone," better than the Oscar winning "Pan's Labyrinth." This is, to be fair, Del Toro's first feature-length film.

Remember when you couldn't draw very well (maybe you still can't draw very well, but I digress?) Maybe you drew stick figures, and your mother hung them from the kitchen wall like you were a virtual Van Gogh. Well, this is Guillermo Del Toro's stick figure to his later Auguste Renoir's, and a reminder that the best of us were amateurs at one time.

What originally starts out as the Anti-Hollywood teen sex film ends in a cop out when 15-year-old Alma gives up her self-respect and *MILD SPOILER* gets together with a loser. This development strains credulity, not to mention the message is appalling- if you can't find a suitable boyfriend, girls, remember... it's better to be with a d**k than to be alone.

Alma (Helene Bergsholm) copes with her small-town ennui by engaging in an active fantasy life, where everyone she encounters is a potential mate. Yes, Alma has hormones that would put the cast of "American Pie" to shame, but that's where the "Pie..." similarities end.

Alma's troubles really start when a boy she likes, Arter (Matias Myren) rubs his d**k against her at a party, then denies it when she excitedly tells her friends. Queen b**ch Ingrid (Beate Støfring,) who wants Arter for herself, turns Alma's classmates against her and almost overnight Alma goes from well-liked student to school outcast.

From the beginning, "Turn Me On..." establishes itself as something different, from it's astonishingly frank depiction of female sexuality to it's decidedly non-Hollywood actors. Unlike some others, I thought the casting was effective. Although Alma is not always likable, her youthfulness and naivete makes her compelling, and Swedish cutie Helene Bergsholm, it seems, is the girl for the job.

The downs- the ending. I can not stress this enough- if you're going to make a movie about female angst and personal growth, do not end the movie this way! The subplot about Ingrid's sister Sara (Malin Bjørhovde)'s pen pal-ship with a death row inmate is sadly underdeveloped.

"Turn Me On, Goddammit" is an interesting, but ultimately slightly disappointing, portrayal portrayal of teenage blues sexual awakening. If you remember anything, it will probably be the ostracization of Alma by the cruel school queen bee and the gentle humor.

"Turn Me On, Goddammit" is innovative in that it deals with female sexuality, but ultimately, it's flaws make it difficult to recommend. It's most suited for a certain female audience, maybe, and audience that sympathizes with Alma's troubles. Others might find little to relate to or even like. "Turn Me On..." is an interesting debut, but not much more.

"Wild Tigers I Have Known," Cam Archer's visually striking but somewhat self-indulgent debut, is an abstract and meandering portrayal of teen angst and burgeoning sexuality. It's youthful protagonist, Logan (Malcolm Stumpft,)seems perpetually caught between a daydream and and the harsh, uncaring real world.

Sounds kind of like Guillermo Del Toro's "Pan's Labyrinth." Except that movie actually had substance. Oh well. This movie at least looks pretty, and art-chic-happy film students might find more to love in this film than I did.

13-year-old Logan is lonesome soul, given to walks on the beach and recording himself going on a abstract tangents. He also is in the midst of discovering his sexuality (gay as a maypole,) while harboring a crush on Rodeo Walker, the most popular boy in school.

Does Rodeo feel likewise? Maybe so ("girls make me want to go to sleep," he tells his youthful admirer,) but whatever the case, Rodeo isn't telling. Seeking Rodeo's affection, Logan creates a female persona named 'Leah.' 'Leah' calls Rodeo up promising a wild night, but Logan's naivete is apparent.

I 'get' Logan's inability to connect to, or even maybe occupy the same universe as, his Junior High classmates. I go to a school of hundreds of students, and 99% of the time I feel like I'm off on my own planet.

But although Logan is intriguing, the film collapses under it's own pretension, with scenes that have no clear dramatic purpose and dialogues that are laughable in their bloated sense of self-importance. And isn't Logan's mother's response to the fallen groceries a little... psychotic? Nobody who still on the sanity wagon would react that way.

"Wild Tigers..." sports beautiful cinematography and a couple well-known actors (Fairuza Balk as the mom, Kim Dickens as the school counselor,) but in the end, it hardly matters. Seeming long at 88 minutes, "Tigers..." ultimately seems like a bit of a chore, never a good impression for a film to make. Logan entices us but the film keeps us at an arm's length.

The duration of "The Forbidden Zone" takes place in a world entirely unlike our own. From the bizarre recreation of California to the freaky-deaky 'Forbidden Zone' of the title, nothing looks the way it should look and none of the characters act the way a normal person would act under any given circumstances.

This is one of the absolute weirdest movies I have seen in my life. If this intrigues you, this may be the movie for you. If not, maybe not. This bizarre surrealist musical follows Susan B. 'Frenchy' Hercules, a Californian with a pretentious French accent, who passes through a door in her parents' basement to the 'Sixth Dimension' a bizarre world ruled by a jealous queen (Susan Tyrrell) and amorous dwarf king (Hervé Villechaize,)

Frenchy quite willingly becomes the dwarf's sex slave, but the queen, Doris, becomes determined to destroy her. Meanwhile, Frenchy's dunderhead brother Flash and Grandpa enter the Sixth Dimension, hoping to rescue her.

The acting ranges from okay (Hervé Villechaize, Susan Tyrrell) to poor (Matthew Bright, as twin brothers Rene & Squeezit.) The music, however, was quite good. I especially liked the voices of Marie-Pascale Elfman and Susan Tyrrell, who's throaty tune "Witch's Egg" was strangely captivating.

This movie is not for the easily offended. There are racist stereotypes (thought by many to be a satiric portrayal of bias in Hollywood) and out-there sexual content. As a comedy, it's a little weak (certainly not a laugh-out-loud movie.) As a musical, it's quite strong (with songs composed by the director's brother, Danny Elfman, who later became a composing regular in Tim Burton films.)

"Zone" will divide audiences. For die hard fans of surrealism and cult weirdness, the film will offer subversive pleasures; for the average person, it won't offer much. For people to whom "Inception" is hard-core weirdness, it will shock and repel. Regardless, it is a polarizing experience and a original picture, if not a particularly coherent one. I leave this one up to you.

"Pressure Point" is a underrated mind-game thriller and precursor to "The Silence of the Lambs," whose Nazi antagonist brings back memories of "American History X"'s Derek Vinyard. Intelligent, well-read, but full of hate, "Pressure Point"'s unnamed 'patient' was particularly dangerous because of his keen insights into the hearts of others and his acute articulation of his racist beliefs.

Sydney Poitier plays the African-American 'Doctor' a similarly insightful prison psychiatrist who tries to help 'patient' with his recurring blackouts. 'Patient,' impressively played by Bobby Darin, works to tear apart 'Doctor' while forcing his Nazi ideology on him.

At first 'Patient's bigotry seems a little watered down- the film refrains from letting him use the 'n' ward and he seems more smug than actually dangerous. But slowly, the character's backstory unfolds, revealing him to be an extremely dangerous manipulator and violent criminal.

The film maintains it's credibility by not jumping to a Hollywood 'happy' ending. Sydney Poitier is serious and thoughtful, as 'patient' gradually wears him down and gets inside his head. 'Patient' is cruel and self-satisfied, but glimpses inside his childhood reveal the hurt boy behind the man.

The scenes where Doctor interprets Patient's dreams seem a little over-baked, while the childhood flashbacks and the final manipulation are the most interesting part of a movie that is obviously ahead of its time.

"Pressure Point" is cutting edge for 1962, and the psychological treatment of it's villain even more so. Forgotten but not rightfully so, it is currently streaming on Netflix and should be watched by anyone with an interest in psychoanalysis. It's now a little dated, but in fifty years the modern cutting-edge will be dated, and where will we be then? Worth a look.